From Football and Theater To Big Screen Hero: Unexpected Creative Paths with Wayne T. Carr

On this episode of the Indiewood Podcast, we unpack the creative journey of actor Wayne T. Carr. From the college football field to Zack Snyder's driveway, we explore unexpected creative paths and find fulfillment in the unpredictable journey of an independent artist's life.

Through candid reflection on post-pandemic industry changes, discussions on how actors must adapt to an increasingly digital audition landscape, and how to discover opportunities that align with your authentic artistic voice, this episode is not one you should miss.

Subscribe to the IndieWood podcast for more exploration of the many hats worn by today's independent filmmakers.

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In the world of social media, and fast-paced journalism, knowledge is abound. But with all the noise, finding the right information is near impossible. Especially if you’re a creative working in independent film. 

Produced by Cinematography For Actors, the Indiewood podcast aims to fix that. This is a podcast about indie filmmakers and the many hats we wear in order to solve problems before, during, and after production. 

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"We learn from indie filmmakers so we can become better filmmakers. Because we all want to be Hollywood, but first we have to be Indiewood."

Transcript

Speaker 1 0:28

Welcome back to the IndieWood podcast, a podcast about independent film and the many hats independent filmmakers have to wear in order to get those films made. With me this month I have a wonderful new guest who is an old friend not an old friend, I think a long-time friend who has been with us me specifically as a creative on a lot of projects, who's been on stage on TV and on film and has had a lot of unique parts to his journey as a creative, as a filmmaker, as an actor, and I'm excited to have Wayne T T Carr, with two R's, on the pod today. Wayne, thank you for coming. Thanks for having me. Yeah, no, of course, this, this series a bit different, because we don't have mics that we're holding. Yeah, usually we'll have like a microphone in the hand and now we just have these little clip on ones. We do get little fidget, fidget things to kind of hold in the hand. So I'm not gonna use that. Yeah, I'm going to use it as a microphone and talk into it.

Speaker 1 1:26

So, wayne, you are an actor. You have been an actor solely for the majority of your career. Yes, you're not really a multi-hyphenate, but as you've kind of come to this point in your career. You're exploring these other opportunities where you're taking charge, more charge, of the things that you are in. So you are kind of doing a lot of stuff in regards to writing and I think you're also kind of exploring, you know, being the driving force behind a project. But we'll get to a lot of that, I think, later in the series. Before you continue, yeah, what?

Speaker 3 2:01

multi-hyphenate.

Speaker 1 2:03

Somebody that does something Whoa. How would you define multi-hyphenate? I'm sure there's a definition out there, but for me, for example, I'm a writer, yeah, I'm also a director, yes, I'm also a cinematographer, I'm also an editor, so like, the hyphen continues. So I would say that I am you are.

Speaker 3 2:23

Okay In a couple of ways. I mean, most people probably wouldn't include being a father as one, that's true, but it is a job right. It is. It's a big time job and I got my undergraduate degree in directing for theater oh shit. So I do that occasionally, primarily on the college level.

Speaker 1 2:45

So I get paid to go into colleges and then acting has been my primary.

Speaker 3 2:52

You know, but also a coach, a facilitator, so I'm a multi-hyphenate just not, so let me rephrase yes, actor, director and father.

Speaker 1 2:55

There you go, there you go. Yeah, you are multi-hyphenate but you are also exploring other multi-hyphenate oh, mother of other hyphenates. There we go, other I like that other hyphenates to kind of expand your career. But I'd love to talk to you and have you share your life, because you've had a lot of ups and downs in your career, a lot of amazing ups, and I'd love to talk about those as well and just to kind of have people understand your perspective, because I'd love to get your perspective on the industry. Tell me about Wayne and how theater was kind of the main thing you chose to do and how then that transition happened to TV and to film and to writing. Let's start at the beginning.

Speaker 3 3:35

Oh my gosh, I don't know how long you want these episodes to be.

Speaker 1 3:41

We'll condense it.

From Football Player to Actor

Speaker 3 3:41

Yeah, so I mean, I started my senior year of high school was the first time I did a play. And I did that play at Rockville High School, where it was pretty diverse but for whatever reason the theater department wasn't diverse. So they were doing a play called To Kill a Mockingbird and they had no one who looked like myself, who was a black American, to audition for a very pivotal role. So they came out to my football practice on the field. We were done with football practice. You were playing football yes, absolutely through college and they said Wayne would do it because I tried to dabble in everything. And they said Wayne would do it because I tried to dabble in everything.

Speaker 3 4:23

So I did that play and I remember the director saying to me if you want to do this as a career, you might be able to do this Because I think you have talent and I'm like what? Okay, whatever, I got to college as a biology major. I went to college as a football major. And I say major because that was what I wanted to do. Yeah, football and biology and theater kind of just kind of like was a hobby your life feels like an episode of glee or like a series.

Speaker 1 4:52

The series glee you know, we were like I'm in football and then, like you, have talent elsewhere.

Speaker 3 4:56

That's a good comparison, okay, yeah, I have so many stories. I was also in a boy band for a little bit, but we'll talk about that okay there's so much about wayne that I don't know, I got, I got stories.

Speaker 1 5:10

We've talked quite a bit too and like, oh okay, all right.

Speaker 3 5:13

No, you know the only reason I bring that up is because one I like you and two. Um well, now you're telling yeah, everybody, to let people know that. You know there's always these crazy forks in the road, sometimes, right, and if you talk to anyone enough, you know on the street, wherever you are, and you say, hey, where could your life have gone, like if this had happened, or if you moved to a different neighborhood, if you had a different mentor, if you had, you know, whatever um, I could have been a ballet dancer.

Speaker 1 5:48

Of course, you could well not like, like I was studying to be a ballet dancer and then I was given the choice to like, not do it, yeah, and I was a seven-year-old boy and I wanted to play in the dirt. So I was like, no, let me play in the dirt. And it's a, it's a regret I have, because I think it would have been an interesting path, an interesting kind of thing to do as a creative. But I don't maybe regret's the wrong word. I don't regret the choice, but I sometimes think fondly of it.

Speaker 3 6:16

Yeah, and as you should, I could have been a doctor if that's what I wanted to do. I wanted to do, I wanted to.

Speaker 1 6:21

You could have been an NFL. I could have been in the.

Speaker 3 6:23

NFL yeah absolutely, and that was also something that I wanted to do so my two passions, my two first passions.

Speaker 1 6:29

I stopped at a young age well, now you're gonna get uh be in a movie about football yes and uh, maybe a football doctor exactly football doctor who becomes a football player or a football player who becomes a doctor they, they should do a movie like that, like Doogie Howser, but he plays football and he's also working in a hospital there you go. Okay, so continue Football biology major, but you were still pursuing acting.

Speaker 3 6:55

Acting didn't happen on a professional focus level until my senior year of college. I was playing in the homecoming game at Frostburg State University Shout out to Frostburg. I broke my back. This big guy falls with his knees, lands on my back so I broke my lumbar three and I remember being extremely depressed because instantly my football career was done. I was out of Division III school so it was highly unlikely, but I was going to go for it.

Speaker 1 7:29

You were going to try, I was going to try.

Speaker 3 7:34

And there was a teacher there, marzie Yost is her name. She said Wayne, I think you have talent as an actor. So she's the second person who told me this. I was doing it for fun. By this time, my senior year of college, I was double majoring in mass communications and theater, with a directing focus in both. I don't know what to call it, but my rational brain there was a part of me that was like I want a job, job. Yeah, I love art, I love football, but I want a job, job. And so, going into my senior year, I thought I can be a technical director for a sports channel or something or a.

Speaker 3 8:16

TV network maybe.

Speaker 3 8:17

And so that's what I was shooting for. And in my senior year, once I broke my back, I had to drop one of my majors, so I dropped mass communications. This wonderful woman, mayor Zio, said you know what? You should go to grad school. And I said for what she said acting? And I said I can't pay for that. She was like, well, you can get a scholarship. And I was like, yeah, right. And so this beautiful woman coached me for two weeks, for like a full-time job, for two weeks, on how to do a monologue, how to do an interview for grad schools. I went to New York, auditioned for a bunch of schools at a thing called Ertus, but, um, I don't even know if that's still around, but I auditioned for a bunch of grad schools. I got into a couple Penn State was what I chose went there and that's when I started to focus on acting.

Speaker 1 9:04

That is such an inspirational story because you went from this whole life and then recently now you just got back home two days ago from American Repertory Theater in Boston where you played Odysseus In Cambridge.

Speaker 3 9:17

Cambridge. I'm sorry, yeah, where I played a dissing. Yes.

Speaker 1 9:19

Yeah, I said Boston right.

Speaker 3 9:21

Yeah, everybody says Boston. I say Boston too, but I just want to give ART a shout out they're moving next year to Boston. Okay, it's right across the river.

Speaker 1 9:29

I'm from the future, actually, so I'm confused, yeah exactly, but that is such a well-lived life and I think that gives you so much more presence in the things that you do. Um, but I mean after penn state, so how? How tell me more? Keep going, because I'm learning a lot. I'm I usually ask more questions, but I'm like yes, no, this is a, this is a movie.

The Value of Regional Theater

Speaker 3 9:53

Yeah, you know it's I you know, uh, when we were chatting the other day, I was thinking, oh, this is something I might want to share, or this is something I might want to share or this is something I might want to share, and I was thinking like I think the core of all of it is one curiosity.

Speaker 3 10:09

That's something that I was kind of like born with. I'm just a curious person and that's good and bad, you know. So it helps me when I'm pursuing something, but it also distracts me at the same time. So I may want to do this over here, but then this thing will come up and it will be awesome and I'll go oh, that's kind of cool and I've completely lost this thing. So controlled curiosity is something that we can chat about, because it's something that I want to journal on myself.

Speaker 3 10:40

I like that and then, and at the same time, having a plan, being okay with adjusting with that plan. But I think a lot of people like myself who went into acting or theater or whatever it is, who want to go that path, have a very streamlined thought of what it is. They don't know where they can go. So you have to be somewhat flexible, but create a plan and the thing is that nobody can tell you what that plan is.

Speaker 1 11:11

Did you have that mentality when you were starting? No, you were just kind of like let's see what happens.

Speaker 3 11:16

Yes, and that's exactly what happened. Let's see what happened. I went where the wind blew me.

Speaker 1 11:22

What did the wind?

Speaker 3 11:23

blow you, oh, my gosh.

Speaker 1 11:26

We could talk for so long. When we met you were doing a lot of regional theater. Yes, In kind of the western United States All over, All over. Okay, I think when we met you were just coming out of Utah.

Speaker 3 11:41

Yes, yeah.

Speaker 1 11:42

And then my wife at the time much I'm a girlfriend at the time. Now wife was and I keep bringing this up because I feel like it's a, it's a such a big part of my life now. We did a web series and then you were part of it. You were part of it, just as a previous guest, jj Hawkins, yeah, was a part of it, and that's how we met and you were a really amazing part of that show because you brought a gravitas to the show. Even though we wrote you as a comedic character, I think there was a presence. That was really nice. But then from there you went on to do TV and film. So how did the transition from this kind of career in theater happen to film and television? Is that something you wanted to do, or is that something where the wind was like, hey, you're going here now?

Speaker 3 12:24

yeah, no, when I got out of grad school I don't know how far, how far back I want to go with this because basically what happened is, when I got out of grad school, television was what it was, and this was before the amount of streaming services that are are. You know what I mean. So, um, there wasn't a lot of television, and the television that I did like was hbo.

Speaker 1 12:50

Yeah, you know, when it was hbo you didn't have a walk-on role, for you know the sopranos yeah, you know, like I, I just wanted to be like a hardcore actor, right?

Speaker 3 13:01

So that was on the stage where you didn't have the ability to cut and you just had to keep going. And if you had a slip up, like in life, you just keep going and I love that. And so I was like I'm just gonna do theater. No money's really in it, like it's it's not. It doesn't pay extremely well, but that's what I wanted to do, and it wasn't until I spent one year where all I did was regional theater. That's how I survived.

Speaker 3 13:30

And then at the end of the year, I calculated, doing my taxes, how much I made and I thought this is not sustainable. I have to do something else. Nobody was able to tell me that. I had to figure it out. I realized, oh my gosh, I literally have sometimes overlapping shows where I was getting double paychecks and at the end of it I had no money. I had nothing to show for it. And so from that moment on, I started to think, oh well, I have to branch out and start to do other things. What would those other things be? But when I first started, all I wanted to do was theater. So that's what I did.

Speaker 1 14:09

So a question because for actors listening, for people that want to be playwrights, for people that want to direct in regional theater because that's predominantly, a lot of what the shows are in America is regional stuff and you have some of the big theaters in New York and LA and Chicago, but for the most part a lot of the meat of theater happens in these regional spaces and they can be really good. Absolutely how? I guess not how do you survive? But, like, is it for the love of the craft? Or is there some, like, for example, people say, oh, the best training you can get for TV is to be on a soap opera, because you're doing it every day.

Speaker 1 14:53

You know you jump in and you do an episode. Every day is an episode. You know it's Broadway.

Speaker 3 14:59

That to me is a genre in its own. That might help you learn your lines faster or something like that. But the people who do soap operas, their job is so much more intense than my last television job, which was on Chicago Med. I did like seven episodes on. Chicago Med, and it's one thing if you are a lead in it and you're doing 22 episodes and you're going from I don't know, October till May and shooting and then, with a little break in between.

Speaker 3 15:30

It's like OK, maybe a soap opera can help you you know, be more with it on the lines, but it's a completely different energy. It's a completely different flow.

Speaker 2 15:40

Soap operas are pumping out so much more than you know a Chicago Med right, so it's completely different. And then you have the miniseries.

Speaker 3 15:48

That's a completely different thing.

Speaker 1 15:49

It's strange to think about how, like oh this, you know is Chicago Med still doing 24 episodes, or are they cut down? I think I don't even know if they're still going Well, just like that, the Chicago series. Are they still doing 24 episodes a season?

Speaker 2 16:03

22, 24.

Tragedy of Macbeth and Green Lantern

Speaker 1 16:04

That's like the old TV model. It is Because now it's like you're lucky if you get 10. Yep, and it's crazy to think that, oh, soap operas do more than the big standard 90s kind of TV model that a lot of shows used to have, which is a bummer that we missed that. We don't have that anymore, because that's how you train writers you have your showrunner and then you bring on emerging writers or writers that are still kind of figuring out their chops, and then they would do 24 episodes a season and then that trained them to be better and be showrunners down the line or to be better creatives, and now we don't have that anymore, which sucks it does, but I think Chicago Fire and MED and PD.

Speaker 2 16:50

What else is there MED PD and Fire?

Speaker 1 16:53

Yeah, I think Dick Wolf is still the guy who's kind of keeping the TV industry afloat on some level yeah. Well, coming back to my question about regional theater, why do regional theater if there's no money in it?

Speaker 3 17:08

It's, of course, a passion, right. It's something you have to love. And then I remember seeing an interview and actually talking to Denzel Washington, who is a hero of mine right and you were with him on Macbeth.

Speaker 1 17:23

Yeah, the tragedy of Macbeth the. Coen joke seeing an interview and actually talking to Denzel Washington, who is a hero of mine. Right, and you were with him on Macbeth. Yeah, the tragedy of Macbeth, the Coen, joel Coen, was it both?

Speaker 2 17:29

Coen brothers no just Joel.

Speaker 1 17:30

Okay, yeah, and so you had a small part in that and you were also the Shakespeare consultant, there we go. Yeah. Was the title that we came up with yeah, which was, I think, necessary.

Speaker 1 17:40

Sarah and I were talking about you the other day and how you gave her some tips on Shakespeare and we were talking about how good of a teacher you are, because when I hear you kind of talk from an education perspective, it's always like so clear and so you know, succinct and also very knowledgeable in depth, and she was like Batman knows so much about Shakespeare. And then, yeah, you got hired to consult for Joe Cohen and Macbeth.

Speaker 1 18:08

Yeah, which was great Before we dive in, because you give the non-theater nerds a breakdown on why you don't say is it Macbeth or Hamlet. You don't say Macbeth. You don't say Macbeth, yeah. What's the story behind?

Speaker 3 18:21

that. So there's superstition behind that, and when you're in a theater, specifically a theater, you don't say mcbeth if you're not working on it. A lot of people have superstition about that, and for different reasons, but there have been many situations, documented situations, where somebody says it in a theater and somebody gets hurt or something happens.

Speaker 2 18:46

So there's so much.

Speaker 3 18:47

It's a big old history, right, like with that, and even if you're doing the play, it's like, okay, it's a little cursed.

Speaker 1 18:54

What do actors call the play, the Scottish play, and and what else is there? The Scottish play is what?

Speaker 3 19:01

we or.

Speaker 1 19:01

Macca's, macca's, yeah.

Speaker 3 19:03

Yeah, scottish play or Macca's. But yeah, the Scottish play. The theater nerds of the world call it the Scottish play or Macca's actually.

Speaker 1 19:11

I heard also McBee.

Speaker 3 19:12

McBee is a good one to do.

Speaker 1 19:14

No yeah, interesting. You mentioned, like you know, interesting that we kind of talk about this because it also happens in, you know, other forms of performance Ballet, you say, break a leg. I think it's in theater.

Speaker 3 19:25

you say break a leg as well. Theater, you say break a leg as well.

Speaker 1 19:27

In music circles. You don't like play Requiem, mozart's Requiem, you don't. Yeah, well, maybe you do, but like I forget what the, because my stepdad was a musician and he did that a couple times that show and he was, he played for a big orchestra and they they were like every time we've played that like something bad happens, someone's family member passes away, like something, like there's a tragedy because it is a choir that's saying interesting. Did you experience any?

Speaker 3 19:54

no, okay well actually let me think about that. I'm like was that the year I broke my back? I don't know, but, but it was in college, yeah, okay, yeah, it was great.

Speaker 1 20:03

Because it brings with it such gravitas, because it's the thing he wrote as he was dying. There's some energy in that. So we've digressed way too far.

Speaker 3 20:12

It's going to happen when we talk. It is yeah.

Speaker 1 20:15

We need more than half an hour. So I asked you the question about regional theater. I promise we'll get to the answer and I said like why do regional theater if there's no money?

Speaker 3 20:24

in it. Yeah, why? Yes, why do anything? If there's no money in it? Right, why do anything? And it's just a meditation, it's a practice, it's a love for something right. And so if you have that love and you have the ability to do the thing you love, well, just go ahead and do it. Most of the people that I know who are in theater, who are in their middle age range you know who've been doing it for a long time it's not about the money, it's for the love of the craft, right, and they all think of it as a blessing. It's a blessing that they get to do. That of them are, you know, stock traders you know, some of them are teachers, some of them do whatever, and most of them will probably tell you.

Speaker 3 21:09

If they sat on this couch with you, you know what I would do this for free, so the fact that they give me a check is awesome it's a bonus.

Speaker 1 21:17

I am glad we unpacked that because I feel like that scope, that environment of theater is very similar to indie film. You don't make an indie film to make money, you definitely don't. You make an indie film to tell the story, to shoot the shot, to have whatever is in here visually I'm pointing to my head for those listening, not watching the pod what's happening in your head, in your imagination, to get that out onto a visual medium, absolutely, and I mean that's why I do it. I wake up and I have these images in my head. I'm like I need these things out of my head.

Speaker 3 21:53

Yeah, don't go to the grave with it. No, it's awful. And even if you can't and this is what I would say, like if you were my student I would say even if you can't film it, write it. Even if you can't write it, speak it. You know what I mean?

Speaker 2 22:07

Just put it out there.

Speaker 3 22:10

Because it's helpful for you. If you don't allow yourself to get it out there, then you hold on to it and I think it blocks you from future possibilities, future possibilities.

Speaker 1 22:20

There's been a couple of moments like that where I have a hard time moving on to a different project, because I wake up and I keep thinking about this scene and this film that is half written or I wrote and needs a rewrite, and I'm like this project needs to be out in the world because it can't live inside me.

Speaker 3 22:36

Actually, I mean, I was listening to the episode with JJ and he said something similar, I think, and I was like yeah, spot on so yeah, I'm kind of repeating what he was talking about.

Speaker 1 22:46

But after regional theater, you did TV. Yes, you did film. You did a lot of amazing film projects. You were in Macbeth. Yes, you also did. You shot a scene for the oh my God't even call this the reshoots that oh, the zach snyder.

Speaker 3 23:06

Yeah, that's what I did for justice league, yes, and you were cast as green lantern yes, yeah, and I wouldn't say that I was, uh, necessarily cast because you were shot, yeah performing the role of green lantern. Yeah, he was. It was in the pandemic right. Hbo was becoming HBO Max.

Speaker 2 23:24

They needed something to kind of like help, you know, booster, you know their subscribers or whatever.

Speaker 3 23:31

And they were like Zach, we want your version of you know, because he said it's in the can, it's ready. You know I can do it, just a couple of tweaks here and there. And so I'm good friends with Ray Fisher, who is Cyborg in the films, right, and Ray Fisher told him about me and was like I have a friend who's a good actor who might be cool for the role. So Zach called me the summer of 2020.

Speaker 1 23:55

It was a great summer that I was on the set for the Tragedy of Macbeth, it's funny you say it's a great summer, even though we were in the throes of it. I know it was in the middle of the pandemic.

Speaker 3 24:05

I had some of the most exciting moments in my life during that time, my wife and I decided we're going to have a kid. In the middle of the pandemic we were planning on it and then we were thinking no, no, we shouldn't do this. The world is crumbling, black Lives Matter is in full effect. Cops are shooting people that look like me. What are we thinking of bringing a kid into this world Like we're all it's all shut down. What we're wearing? Masks. It's crazy.

Speaker 1 24:36

I was like no, let's let's go for what we want to do. I feel like that's the best time to make that sort of sort of decision, because you are bringing some positivity into that moment of negativity yeah, yeah, yeah, I wrote my first pilot during that time.

Speaker 3 24:52

I remember that, yeah yeah, um I think, uh, the tragedy of macbeth was the first film to come back into production that summer, and so they were leading the way on like how to set up the whole you know testing thing right. So that was a big deal. So Zack knew, zack Snyder knew that I was being tested on a regular basis or whatever, and so I was able to send my results to him. We chatted five times before I went to his house and shot the scene. So you shot it in his driveway. In his driveway, yes, and I got the whole suit, you know the little with the dots, the mo-caps right and which is not flattering on anyone. No, but I put that thing on. I drove to his place. We started to shoot. About two hours in he comes up to me. He was like I need this in my movie.

Speaker 3 25:39

Yeah, and I was like what were we doing in the first place?

Speaker 1 25:41

Because the movie was the scene was supposed to go at the end.

Speaker 3 25:44

So, yeah, it was supposed to go at the end, Martian Manhunter replaced the scene that I did, which was similar, very similar to the dialogue that I had. But Zach was excited about what I did and that was kind of just cool and he was like I want this in my film and I remember him calling me after he showed Warner Brothers and he said, yeah, they're not allowing it because they have future plans, et cetera, et cetera.

Speaker 1 26:11

With James Gunn coming in, it was all shifted.

Speaker 3 26:14

It was shifted, but they still had Lantern plans and they're coming out in 26 with their Lantern television show. That's right, yeah, yeah, ok, which is exciting. I wish them the best of luck. But, yeah, my my experience with with Zach during that time was was great, one that I got to meet him, who has directed some films that I love yeah, 300 being one of them, yeah, and I was just excited. And I was excited that, during the process of shooting this scene for him to help him out, because I didn't truly know what his plans were, I had no idea until he told me I want this in my film and I thought, oh, he's like it's a long shot because he hadn't talked to the studio yet. We were just playing around.

Speaker 1 26:59

We were just having a good time. That's the best time to, or the best environment to, produce something amazing. You just play, yeah, yeah.

Speaker 3 27:08

And that's exactly what we were doing. We were playing for four hours on basically a page and a half, you know, of dialogue, and it was so much fun.

Speaker 1 27:18

So, just to wrap up, because you've had this career and you have this perspective and you've had amazing ups and you've had perspective and you've had amazing ups and you've had some bummers, as we've called them.

Speaker 2 27:28

We all do.

Adapting to Industry Changes

Speaker 1 27:29

Yeah. How are you seeing the landscape now as an actor and as a filmmaker and as someone who's been on very different sets and stages? Are you seeing creativity and the film industry and the theater industry, the theatrical industry? Yeah, yeah, Survive, thrive. What's your perspective?

Speaker 3 27:52

My perspective is you know, I think we all kind of have a similar thing, which is we have to adjust Champions. Do that, you know. Like you have to, like, just make the adjustments and so whatever that is like, I mean, we can talk about this in the later episodes, but like you have, to call an audible.

Speaker 1 28:09

Yeah, you have to call an audible right.

Speaker 3 28:10

And so it's like okay, how do you adjust when, all of a sudden, you're self-tapes, we're not going into any offices, we're not having that one-on-one let's chat and talk Self-tape, self-tape, self-tape. Casting directors don't know who I am because I can't go into their office and say, hey, I'm a sane person and talk with them. Yeah, I'm not crazy. Hey, I saw you a month ago. There's none of that.

Speaker 1 28:39

They just watch our tapes or not and move on. Yeah, and that's been a struggle for all the actors that I know it's just gone, but yeah, we have to adapt and I think you know what your experience shows is that the wind of creativity takes us to some unique and amazing places yes if you didn't say yes to everything that came to you, you wouldn't have been in Zack Snyder's front yard shooting Green Lantern you know you wouldn't have been an actor, you wouldn't have been on TV or a father.

Speaker 1 29:06

So I guess, with this advice, with this kind of recap of your life, I think the advice would be say yes, say yes to the dress, but not the dress, the creative project.

Speaker 3 29:21

Say yes to the things that move you. And no to the things that don't, because you don't have to do everything, but that's a choice, that's a conscious choice.

Speaker 1 29:31

I think I get in trouble when I say yes to too much and I'm like, oh, I can't do that. I want to do that, but I can't.

Speaker 3 29:39

I think there's more power, more leverage, more inspiration in the ability to say no to things.

Speaker 1 29:45

Yeah.

Speaker 3 29:46

Say no to the things that you don't want.

Final Thoughts and Closing

Speaker 1 29:47

I say no more than I say yes, to be honest, and on that I think we'll wrap up and we'll talk about amazing things in episode two that I want to unpack with you. Wayne, thank you for coming on the pod. Thank you to everyone for listening and we'll see you next week Awesome, thank you. Thank you to everyone for listening and we'll see you next week Awesome, thank you. Thank you for listening to the Innywood podcast. You can find the podcast and anywhere you find your podcasts, or on the CFA YouTube channel.

Speaker 2 30:13

From the CFA network. Cinematography for Actors is bridging the gap through education and community building. Find out about us and listen to our other podcast at cinematographyforactorscom. Cinematography for Actors Institute is a 501c3 nonprofit. For more information on fiscal sponsorship donations because we're tax exempt now, so it's a tax write-off and upcoming education, you can email us at contact at cinematographyforactorscom. Thanks.